George’s Blood Diner credit traces to a single secondary filmography source, and nothing else backs it up: his name is absent from the theatrical prints, the home-video credits, and the crew lists examined here. The effects on Jackie Kong’s shoestring splatter comedy were supervised by Anthony C. Ferrante and built out by key artist J.M. Logan, with Larry Arpin, Loraiana Drucker, Bruce Zahlava, Michael Hyatt, and Aaron Sims rounding out the crew — a separate circle of L.A. effects artists with no confirmed overlap with George’s shop.
The film itself — a shot-on-nothing spiritual sequel to Herschell Gordon Lewis’s Blood Feast, built around a resurrected goddess, brains in jars, and a diner full of deep-fried body parts — sits close to the register George is known for. That resemblance isn’t a credit. George’s actual 1987 was already full: the bio-mask paint job on Predator, freelance makeup work on A Nightmare on Elm Street 3, and Spaceballs.